Apocalipse social audiovisual: Os ciborgues nas paisagens sonoras do ciberpunk lusófono

Abstract

This article discusses the theoretical problem of defining an audiovisual Lusophone cyberpunk world through its sonic environment. The study explores a sample of nine audiovisual narrative media to defend that Lusophone art represents a social apocalypse linked to a trend in dystopian fiction and outlined through soundscapes and cyborgs constituted by continuous realms of geology-life, nature-culture, and voice-body. I ask: What are the acoustic ecologies of the apocalypse? How is the audiovisual representation of technoscientific spaces and bodies capable of creating a Lusophony? My analytic method is qualitative, and the interdisciplinary perspective crosses tools from musicology, sociology, and posthumanism. I conclude that there is a ventriloquial and ecocritical voice where humans and nonhumans relate. The appearance of these posthuman geo-subjects, defined by hybrid conditions, question racialization processes through the timbres they adopt. Another aspect is that music, everyday sounds, and Lusophony markers express resistance forms in technoscientific societies.